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| Mackenzie Davis as LOUISE, Scoot McNairy as BEN in SPEAK NO EVIL |
Ask me what recent horror films stand out as unforgettable experiences, and in the top 10, surely you will hear me struggle to communicate the horror that is Christian Tafdrup's SPEAK NO EVIL. A film that starts with a vacation and ends with tragedy of Biblical proportions, SPEAK NO EVIL remains in a rare category of films that forced me to remember, "it's only a movie." So hearing that a remake was forthcoming had me weeping in bitterness that such a thing could occur only two years after the original's release. My already grumpy thoughts only festered further at the release of the overplayed trailer that gave away much of the original's plot and supported my suspicions that this new version would lack any subtlety and ruin the film. I arrived at the screening prepared to hate every moment.
But things went differently than I expected, much like the unsuspecting couple in the story – but with kinder results. I must begrudgingly admit that the new version makes for an entertaining film, especially in a crowd. But this new SPEAK NO EVIL so differs from the original, both in tone and plot, that it manifests as a completely different movie.
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| James McAvoy as PADDY, Aisling Franciosi as CIARA in SPEAK NO EVIL |
For those who have never seen either version, the film opens at an Italian resort. Ben Dalton (Scoot McNairy) and wife Louise (Mackenzie Davis) vacation with their daughter Agnes (Alix West Lefler). They meet fellow vacationers from England, Paddy (James McAvoy) and Ciara (Aisling Franciosi) and become enamored by their joie de vivre attitude. Time passes after Ben and Louise return home, and they receive an invitation to visit their new acquaintances in their private estate. Against initial impulses to toss the invite, they accept, to their detriment.
A cautionary tale against needing to "people please" and avoid conflict, SPEAK NO EVIL depicts a special kind of horror – being stuck with the worst kind of roommates. The Daltons try to be gracious guests but only receive gaslighting and boundary busting behavior in return. Against all practical sense, they stay and receive all the emotional abuse with grace. And what's with the couple's odd son Ant (Dan Hough), who keeps cornering Ben and Agnes, gesturing at his tongue?
What happens in the Danish version of the film has now become the stuff of horror legends. Christian Tafdrup does what great storytellers do. After setting up his scenario and conflict, he allows the story to unspool in a natural way and then takes his concept to the absolute extreme. That film climaxes in an absolute balls to the walls ending that drags us the viewer along with them. We are privy to the humiliation of Bjorn (Morten Burian) and Louise (Sidsel Siem Koch) as every shred of dignity and humanity is stripped from the forsaken couple. His minimalism and unwavering dedication to one central idea is what made Tafdrup's vision so visceral and effective. We the viewer play the role of silent witness, judging Bjorn in particular and praying the nightmare will end soon. The writing seduces us into believing that it's somehow Bjorn's fault. Perhaps if he stood up for himself, he could turn his fate around. We participate in victim blaming.
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| Alix West Lefler as AGNES, Scoot McNairy a BEN, Mackenzie Davis as LOUISE in SPEAK NO EVIL |
With little exposition or explanation of what motivates Bjorn and Louise, Tafdrup's story also manages to imply unspoken statements about masculinity and the importance of avoiding lives of quiet desperation. The character of Patrick (Fedja van Huêt) grooms Bjorn from the beginning, knowing he needs to find a man with a passive energy for his carefully plotted ploy to work. Keep in mind, this is never stated. It's only after the credits roll, that we put the pieces together. The efficiency of storytelling impresses me to this day.
On the other hand, we have the remake. To his credit, at least James Watkins had the decency to change the ending of the film, so viewers would at least enjoy some measure of surprise. And the change produces an entirely different film and experience. Think of it as a choose-your-own-adventure film. If you want an empowering, comedic, conventional revenge flick, watch the remake. For a bleak, inventive, cautionary tale, choose the original.
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| James McAvoy as PADDY in SPEAK NO EVIL |
Watkins removes the subtlety from the writing and adds overt dialogue, naming plot elements that Tafdrup allowed to linger under the surface. Ben and Louise reveal that their marriage is on the rocks due to infidelity and discontent. Husband Ben complains that his life is so boring, and Louise complains about Ben's passive nature. This version definitely wants to explain the characters' psyches, both protagonist and antagonist. In the original version, when they are asked why they are doing this, the villain says, "because you let us." This answer gives that story a touch of nihilism. This version, on the other hand, gives Paddy and Ciara some kind of tragic back story to explain why they are "the way they are." Some might call this clarity, for me, it's a copout.
Watkins' version trades in the nihilism for a level of humor that borders on camp. James McAvoy is having a ball playing a person that looks like he will either burst into tears or giggles at any moment. To some level, his star power takes away from the sense of dread. McAvoy is having too much fun to be scary.
That's not to say the performances themselves are boring. James McAvoy dominates the film and channels rich Jack Nicholson energy. Comparisons to that performance are inevitable, especially in the final chapters of the film. Aisling Franciosi has already proven she can be unhinged with her performance in The Nightingale. Scoot McNairy does okay as the feeble husband, But it's Mackenzie Davis who proves the most worthy opponent to McAvoy's disturbed energy, showing how ferocious a mother can be when her children face threats.
That being said, Watkins choosing an empowering, heroic, crowd-leasing alternate ending to the original takes away the impact the story has. "Give the people what they want," puts butts in seats and dollars in pockets, but it doesn't push the needle of the genre. That being said, this fits the bill when you need a crowd-pleasing horror to watch with your friends.
Release info: In theaters September 13, 2024
Final score: 3.5 out of 5
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